Music Review: Amazing Meyer packs auditorium

Monday

Oct 21, 2013 at 4:17 PM

The amazing bassist Edgar Meyer has come and gone but he left behind a mesmerized audience, a crop of awe-stricken new fans, and some fired up string students that were beneficiaries of a Saturday afternoon session with Meyer.

by Becky Ball

The amazing bassist Edgar Meyer has come and gone but he left behind a mesmerized audience, a crop of awe-stricken new fans, and some fired up string students that were beneficiaries of a Saturday afternoon session with Meyer.

On Saturday night there he was — in person — on the stage of the Oak Ridge High School Performing Arts Center. He was all alone except for his amazing inestimable instrument. The auditorium was packed but the stillness of that transfixed audience was something rarely seen here. I wanted to hold my breath sometimes so that my breathing would not disturb. The whole truth is that Edgar’s unbelievable talent was unfolding right before our eyes and we still could not believe it.

The phenomenal program was an alluring opening to ORCMA’s 2013-14 Chamber Series. To say that Meyer has rock star status does not do him justice. He is a big draw wherever he plays, but a friendly home audience may increase the number of stage calls a bit. We lost count. It was good and right that we gave him such a spirited standing ovation, and it was good to see his proud mother Anna Mary Meyer in the audience. Many of us silently wished that the late Ed Meyer could have heard his son.

Meyer’s fans know that he has uncovered technical possibilities of the bass that would seem impossible. His fans also know that he can get a huge variety of dynamics and an emotional singing tone like no other bassist we have heard. His fans know about his love for transcribing Bach cello pieces for the bass. And EVERBODY knows about Meyer’s successful crossover eclectic programs from chamber music to bluegrass to whatever’s out there.

The first half of the program was devoted to Bach’s “Cello Suite No. 1,” transcribed by Meyer for the bass. It is a one- piece showcase of what the cello can do, but it turned out to be a showcase of what the bass and Meyer can do. His interpretation was spontaneous but clean. Did we detect a little Romanticism in the Sarabande? Clap!Clap! The flawless beauty of Meyer’s tone was evident in each dance movement — fast, slow or just mellow. Rhythm was impeccable.

Meyer’s “Work in Progress for Unaccompanied Double Bass” followed the Bach. Laced with humor, he described the basic design of the piece and its complicated rhythmic patterns. In his program notes Meyer wrote that his “opening and closing movements are complete for the moment,” and that the “in between is a movement that may or may not be included in the final version.” We liked the variety and the avant-guarde of the work. As in all of Meyer’s performances, we liked the physical energy that told us making music on a bigger-than-thou instrument is not for sissies. We liked Meyer’s intensity and his total focus. It is always Meyer and his music — nothing else gets in the way. Every note he writes has purpose and every note he plays is mindful of tone, of pace, of mood, and especially of rhythm. There were some shockingly tough meters in his “Work in Progress.” We are guessing that most bass players will look for something easier to play.

Meyer announced the second half of the program from the stage — some old and new favorites. But our comments are going to be more general. Here is what we like about all of Edgar Meyer’s playing. We like his artist hands — big, oh yes, but graceful too. He can control the weight of his fingers to produce whatever tone or volume he wants. That includes a perfect soft strum and a well-placed peak squeal. He can even make the bass fiddle growl with a good tone.

We like it when he lets the bow rest and magically stirs up a mysterious undercurrent of busy notes with his hands. We like how he suddenly rescues the resting bow and a gorgeous melody arises to chase away the finger turbulence. We like his controlled pizzicatos. We like the way he plays loose at times and follows with music rife with emotion.

We have always liked Meyer’s sense of timing and will always wait eagerly for the next note to drop. Give Edgar Meyer some notes and something will happen. You can call it MUSIC.